Ludmila Yurina

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Ludmila Yurina (born 16 January 1962) is a Ukrainian pianist and composer.


Ludmila Yurina was born in Uzyn, Ukraine, and graduated from Kiev Music College as a pianist in 1981 and from Kiev State P.I.Tchaikovsky Conservatoire as a composer in 1990, completing her post-graduate studies there in 1998.

She attended workshops with eminent musicians P-H. Dittrich, Irvine Arditti, H. Zapf, G. Stäbler, J. Durand at the Rheinsberg Music Academy as well as with Helmut Lachenmann and Wolfgang Rihm in Dresden.

In 1990–92, she was the Music Director of the theatre studios Kolo and ARS in Kiev. Since 1993, she has been a member and a coordinator of the Organizing Committee of the International Youth Music Forum in Kiev. In 1997 she was the Artistic Director of the Meta-Art Ukrainian Contemporary Art Festival in Kiev.

Since 1995, she has worked as Associate Professor of Department of composition at the National Music Academy of Ukraine specialising in composition and orchestration. She was an invited composer at the flute master-course at the Rheinsberg Music Academy in 1999, was invited to give a lecture about contemporary Ukrainian music there in 1999, Staatliche Hochschule für Musik und Darstellende Kunst in Stuttgart in 2006, to Texas Christian University in 2008 and 2011, and to the City University New-York Graduate Center in 2020.

Yurina's creative residences:

  • Künstlerhof Schreyahn( Germany, 1998);
  • Experimental Electronic Music Studio of Südwestrundfunk (Heinrich-Strobel-Stiftung, Freiburg, Germany, 1999);
  • Visby International Centre for composers (or VICC)[1] (Gotland, Sweden, 2005, 2006).

In 2010 she got a grant from the Fulbright Foundation for scholarship in Stanford University, CCRMA (USA).

In 1999 her name was included in the reference book Who Is Who (Delaware, USA).[full citation needed]

She participated in numerous international festivals; her works have been performed in Ukraine, Russia, Germany, France, USA, Italy, Finland, Estonia, Moldova, Mongolia, Poland, etc. She has actively collaborated with such well-known German performers as pianist S. Eder, cellist M. Lorenz, trombonist Dirk Amrein, C. Levine, Sinfonietta Dresden, New music ensemble XelmYa, Ensemble Timbre Actuel (Germany). Her scores also have been performed by MAVerick ensemble, Symphony orchestra of Northwestern University, Trio Ravus, Edo Frenkel, Laura Ospina (US), Borealis Brass (Canada), Pierre-Stephane Meuge (France), Ivo Nilsson (Sweden), Orchestra of Ukrainian Television and Broadcasting company, National Symphony Orchestra of Ukraine, Kyiv Camerata, the new-music ensemble Ricochet, the percussion ensemble ARS NOVA, TanzLaboratorium Dance Company, Duo Violoncelissimo, the new-music ensemble Sed Contra, pianist Eugene Gromov (Ukraine).

Recordings of her music were produced on the CD Two Days and Two Nights of New Music: Festivals 1998–2000 and by Radio Deutsche Welle (Germany), Ukrainian Independent Radio (Chicago, USA), WPRB (Princeton, USA), Canadian broadcasting (Edmonton) and the Ukrainian National TV and Radio Company. Her works are published by Muzychna Ukrajina Publishing House (Ukraine), Frederic Harris Music Publishing (Canada), Furore Verlag, Certosa Verlag (Germany), TEM Taukay Edition (Italy), Terem-music Verlag[2] (Switzerland) and Donemus (Netherlands) [1].

She is a Founder and Chairman of the Association "Women in Music" Ukraine (since 2002), member of the Honourable Committee of the Donne in Musica (Italy), member of the Ukrainian Composers' Union. Ludmila Yurina is an organiser and co-director of the three festivals of contemporary Ukrainian music in USA - Fort-Worth- 2008, 2012 and of Ukrainian contemporary music festival in New-York-2020 [2]).

Awards and grants[edit]

  • Torneo Internationale di Musica- TIM competition( Italy, 1999)
  • Baden-Württemberg Ministry of Research, Science and Art`grant (Baden-Baden, Germany, 2001);
  • Lyatoshynsky Award ( Ukraine's Ministry of Culture, 2008)
  • Kosenko Award ( Ukraine's Ministry of Culture, 2014)
  • Lysenko Award ( Ukraine's Ministry of Culture, 2016)
  • Swedish Institute`grants (2005, 2006)
  • Fulbright Foundation grant (2010)



  • "Geflimmer", trio for Oboe, Clarinet and Bassoon: 6'(2014/16)
  • "In Good Mood", Piano album for children (2016)


  • Caricature, miniature for chamber ensemble :1`10
  • Silicon Interferences for flute,clarinet,piano,violin and violoncello : 7'


  • Lady Lazarus, monoopera for soprano and piano on texts S.Plath, J.Joyce and R.Bach : 25'
  • Archipelago (dedicated to John Chowning) for piano and live-electronic : 8'
  • Drift (dedicated to Jon Appleton) for string orchestra, piano and percussions : 8'


  • Trombon(o)per(a)Dirk for solo trombone : 7'


  • Bird Bennu' Songs for flute, clarinet, violin and violoncello  : 9'


  • EXISTENZA… for dancers,electronic and video : 29'
  • Hunting for Brother, music for radio-drama, text by V. Lyss : 10'


  • Perseus-Betha-Algol for e-guitar with processor and electronic : 8' 40
  • Pulsar for violin  : 8'


  • Initiation, cantata for baritone, mixed choir, and orchestra : 19' 30
  • Crystal for symphony orchestra :9'


  • Visions of St. John Baptist for string quartet : 8'
  • Angel of White Day for Piano  : 5'


  • That one, who entered into the circle for symphony orchestra : 9'


  • Shadows of deep dream for flute, oboe, piano, and cello : 11`20


  • Topos Uranios for Harpsichord and live electronics: 8'
  • Kashmir, version of "Led Zeppelin"'s song for symphony orchestra and rock instruments: 5'
  • Waterdreams for Trombono, percussion, improvising Saxophono,video and pantomime: 11'


  • Irrlicht for solo violoncello: 6'
  • Klangillusion for flute, piano, and violoncello: 8'


  • Quad, electronic music to S. Becket's piece: 16'
  • Shadows and Ghosts for piano: 5'
  • Gemma for solo flute: 6'


  • Funny Death on A. Ginsberg's text for soprano, 2 microphones, and tam-tam: 5'
  • Funny Death on A. Ginsberg's text for 2 sopranos, 2 altos, 2 tenors, 2 baritones: 4'
  • Glass-Elegy for piano: 8'
  • Xing for trombone, percussion, piano, and contrabass: 10'


  • Streams, film music: 8'
  • As soon as possible… ("Jaknajskorish…") for solo oboe: 6'
  • …end-less… for symphony orchestra: 8'


  • Ein kleiner Marsch mit grossem Wecker for children's percussion ensemble: 6'
  • Distanzierung for 2 violoncellos: 8'


  • S-re Beresciolo, chamber symphony (restoration and edition) for 2 oboes, chamber orchestra
  • Ritornelli (dedicated to Valentin Silvestrov) for Piano: 5'
  • The End of the Game or Provocations for clarinet, piano, violin, and violoncello: 7'


  • Geometricum for flute, oboe, clarinet, bassoon, and horn : 14'
  • Ekagrata for four groups of percussion: 15'
  • Ran-Nan for 19 strings: 11'


  • The Garden of the Shadows, film music: 12'
  • Disintegrations for solo trombone: 8'


  • Rao Noala for soprano, flute, vibraphone, piano, and violin: 11'
  • 1987—1991 Jazz Fiesta, children's piano album: 30'


  • Concerto for solo trombone and symphony orchestra 17'


  • Two Jazz Etudes for Children for piano: 2'
  • 1984—1987 Ukrainian Echo, five pieces for piano: 6'


  • Town and Country, three pieces for piano: 5'


  • "Like Ulysses...", magazine Art-Line No. 9, 1996, Kyiv, Ukraine ;
  • "Ukrainian women-composers in the world context" , Scientific news (National music Academy of Ukraine), issue 75, Kyiv, 2009 ;
  • "About some problems of improvisation in music of Hans-Joachim Hespos" ,Kyiv musicology,issue 30, Kyiv R.Glyer's music Institute, pages 184–189, Kyiv 2009
  • "'Гелікоптер-квартет' К. Штокгаузена: особливості концепції і виконання" ("Helicopter-String Quartet" by K. Stockhausen: features of conception and performance), Ukrainian musicology no. 42, NMAU 2016. archive from 13 July 2019 of original
  • "About textural features of Helmut Lachenmann`s "Trio Fluido", Lviv, annual science issue #30,pages 129–133, 2013 ISSN 2310-0583
  • "Modern Ukrainian Music: 1980–2000" – Ex Tempore magazine, USA, 2008
  • "Stepping by planet CCRMA" (in Ukrainian)
  • "Ukrainian-German intersections: the aesthetics of Mauricio Kagel as an impulse for Serhii Zazhytko’s creative experiments",Kyiv musicology annual issue, #59,2019, pages 100-111,



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